Instinct or Intuition-20181022

곽노준 ( Kwak No Jun ) 한국기초조형학회 2018 한국기초조형학회 작품집 Vol.2018 No.2

심층 강화학습을 활용한 산업디자인

현민성(Min Sung Hyun),곽노준(No Jun Kwak) 제어로봇시스템학회 2018 제어·로봇·시스템학회 논문지 Vol.24 No.12

Deep Reinforcement Learning has developed rapidly in recent years and is likely to be applicable to a variety of real-world problems. In this paper, we examine the problems of industrial design and construct a reinforcement learning environment. In addition, we apply a representative Deep Reinforcement Learning methodology to examine experimentally whether industrial design is possible without human intervention. In the experiments, we achieved increased rewards in the reinforcement learning environments and better design results for the given tasks.

지뢰탐지용 48채널 배열 UWB 임펄스 레이더 방식 지면투과레이더시스템 개발

권지훈(Ji-Hoon Kwon),곽노준(No-Jun Kwak),하성재(Seoung-Jae Ha),한승훈(Seung-Hoon Han),윤여선(Yeo-Sun Yoon),양동원(DongWon Yang) 대한전자공학회 2016 전자공학회논문지 Vol.53 No.12

본 논문은 지뢰탐지용 48채널 배열 UWB 임펄스 레이다 방식 지면투과레이다의 구현과 시험에 대해 기술한다. 지면투과레이더는 기존 금속탐지기가 지닌 비금속 지뢰 탐지의 어려움과 금속 성분에 의한 높은 오경보 발생의 단점을 극복한다. 본 논문에서는 펄스폭이 600ps 급인 미세한 모노펄스 파형을 사용해, 높은 해상도를 갖는 지뢰 전자파 영상을 제공토록 지면투과레이더 시스템을 구현한다. 특히 신호처리를 통해 지뢰가 매설된 지점을 자동으로 추정하고, 해당 지점에서의 분할된 상세 지뢰전자파 영상을 제공한다. 기준 성능 분석을 위해 한국 대표 토양인 거친 사양토를 사용한 실내 시험장 내에서 자동화된 측정플랫폼에 구현한 시스템을 장착하여 시험을 수행한다. 시험은 비무장 지대에 매설된 지뢰와 동일한 모형을 가진 지뢰를 매설한 후, 매설 지뢰 전자파 영상을 획득하고 탐지 심도를 분석한다. This paper describes the development of the ground penetrating radar (GPR) system using UWB impulse radar with 48 Channel array. GPR is an effective alternative technology to resolve th disadvantages of metal detectors. Metal detectors have a very low detection probability of non-metallic landmine and high false alarm rates caused by metallic materials under the ground. In this paper, we use the mono-cycle pulse waveform with about 600 ps pulse width to obtain high resolution landmine microwave images. In order to analyze performances of this system, we utilize indoor test facility that made up of rough sandy loam which representative Korean soil. The mimic landmine models of metal/non-metal and anti-tank/anti-personnel landmines buried in DMZ (demilitarized zone) of Korea are used to analyze the detection depth and the shape of the mines using microwave image.

2D 애니메이션과 3D 애니메이션의 융합

김민중(Kim, Min-Jung),곽노준(Kwak, No-Jun) 한국만화애니메이션학회 2017 만화애니메이션연구 Vol.- No.48

현대에 제작되는 다수의 애니메이션에는 3D 기술이 적용되어 있으며, 시간이 갈수록 제작기술 또한 더욱 다양해지고 정교해지고 있다. 존 앨런 라세터(John Alan Lasseter)가 CG 애니메이션 기술에 대한 연구를 해야 한다고 주장했을 때 많은 사람이 걱정했던 것처럼 가까운 미래에 우리의 일자리를 컴퓨터에 빼앗길 지도 모르는 일이다. 현 시점에서 불안한 미래가 현실이 될 수도 있다는 걱정을 하는 것은 시기상조일 수도 있으나 현재 다수의 애니메이션 작품이 3D 기술을 이용하여 제작되고 있다는 사실에 대해서는 이견이 없을 것이라고 생각한다. 1995년 <토이스토리>(Toy Story)가 상영된 이후 3D 애니메이션 제작 기술은 급속히 발전하기 시작했고, 현재는 컴퓨터 그래픽 기술이 적용된 부분을 실사촬영 부분과 구별하기 힘들 정도로 정교하게 발전했다. 한편, 디즈니의 2D 애니메이션 부분은 쇠퇴의 길로 접어드는데 이는 당시 3D 애니메이션의 등장이 새로운 표현기법으로 인식되어 관객들로부터 주목을 받음과 더불어 작업과정의 효율성이 상대적으로 2D 애니메이션 보다 우월하였기 때문이다. 최초의 극장용 작품이 등장한지 20여년 만에 3D 애니메이션 제작 기술이 주류를 형성하고 있는 애니메이션 산업계의 현실을 반영하여, 우리는 2D 애니메이션 기술의 퇴보를 받아들여야만 하는 것일까? 2D 애니메이션 제작 기술은 오랜 역사를 갖고 있으며 여전히 관객들에게 매력적이기 때문인지 최근에는 2D와 3D애니메이션 기술을 접목하려는 시도를 어렵지 않게 찾아볼 수 있다. 본 논문은 2D 핸드 드로운 캐릭터를 3D 애니메이션에 등장시키는 기법에 대해서 연구하고자 하며, 이를 통해 앞으로 2D 애니메이션 기술과 3D 애니메이션 기술의 접목이 더욱 활발하게 이루어지길 바란다. Many of the modern animations have 3D technology, and as time goes by, their production technology becomes more diverse and sophisticated. When John Alan Lasseter insisted on studying CG animation technology, he might have taken our jobs to the computer in the near future, as many people were worried about. It may be premature to worry that an unstable future may become a reality at this point, but I do not think there will be any difference in the fact that many animations are being produced using 3D technology. Since the Toy Story was screened in 1995, the 3D animation production technology has started to develop rapidly and now it has been elaborately developed so that it can not distinguish the part where computer graphics technology is applied from the live film. On the other hand, Disney"s 2D animation part falls into the decline path because the appearance of 3D animation was perceived as a new expression technique at that time, and the efficiency of the work process was superior to the 2D animation in addition to receiving the attention from the audience. Is it necessary to accept the retrogression of 2D animation technology, reflecting the environment of the animation industry that 3D animation production technology has become mainstream in the first 20 years since the first theatrical works appeared? Since 2D animation technology has a long history and is still attractive to the audience, it is not hard to find an attempt to combine 2D and 3D animation technology. In this paper, I want to study 2D hand – drawn character in 3D animation. Through this, it is hoped that animation convergence technology will be applied more actively in the future.

TBD 처리를 위한 레이더용 파티클 필터 기법 연구

권지훈(Ji-Hoon Kwon),강성철(Seung-Chul Kang),곽노준(No-Jun Kwak) 한국전자파학회 2016 한국전자파학회논문지 Vol.27 No.3

본 논문은 추적-후-탐지 처리(TBD: Track Before Detect)를 위한 레이더용 파티클 필터(Particle filter)에 대해서 기술한다. TBD 기법은 강한 클러터 환경, 작은 RCS 타겟 및 스텔스 타겟 등으로 인해 타겟 탐지가 어려운 경우(낮은 SNR)에 적용하는 기술이다. 특히 파티클 필터는 재귀적 TBD(Recursive TBD) 알고리즘 구현에 적합하고, 비선형 모델을 가우시안 선형 모델로 근사화해서 추정하는 칼만 필터 대비, 상대적으로 개선된 정확도를 갖는다. 본 논문에서는 다수의 관측값(클러터 포함)들이 동시에 수신될 때, 신호강도-거리-도플러 정보를 활용하여 파티클 필터 가중치를 직접 계산 및 갱신하는 방식을 제안한다. 성능 분석을 위해 가상의 레이더 시뮬레이션 사니리오를 설정하고, 제안하는 파티클 필터를 적용하여 추적 필터의 추정오차를 분석한다. This paper describes the technique for Radar Particle filter for TBD(Track Before Detect) processing. TBD technique is applied when target is difficult to detect due to low signal-to-noise ratio caused by strong clutter environments, small RCS targets and stealth targets. Particle filter is suitable for a recursive TBD algorithm and has improved estimation accuracy than Kalman filter. In this paper, we will present a new method of calculating particle weight, when observation values(including strong clutter) are received at the same time. Estimation error performance of the particle filter algorithm is analyzed by using the virtual radar observation scenario.

증강현실기술과 애니메이션의 융합사례 분석연구

곽노준 청주대학교 학술연구소 2019 淸大學術論集 Vol.33 No.-

When talking about the characteristics of the animation industry, always talk about OSMU. In other words, an animation can generate profits by causing ripple effects in various forms such as characters, games, and fairy tale books. In Gartner's Top 10 Strategy Technology 2018, AR/VR technology was selected as the core technology for creating a business ecosystem through digital transformation. Augmented reality technology is gradually progressing in the direction of augmented virtualization that satisfies the user's interaction needs and adds immersion, and changes in animation contents are also detected to reflect this technical trend. Live Texturing of AR Characters, developed by the Disney research team in 2015, is a good example of augmented reality technology and animation. Along with technological advances, a constant problem is the lack of relevant content. Many animations have already been produced, but if they are not remade for the new device, the interest of the audience will be reduced. Therefore, the development of augmented reality technology may be seen as a crisis for animation producers who adhere to the existing production method, but it is also an opportunity to open a new content market. Recently, Korea is recognizing the importance of VR / AR technology and spared lots of support and efforts to promote related industries and create ecosystem.

Parzen 윈도우에 기반한 공유 정보를 이용한 입력 특징 선택

곽노준,최종호 한국뇌학회 2003 한국뇌학회지 Vol.3 No.1

공유 정보는 변수들 사이의 연관성을 측정하는 지표로서, 입력 특징 선택 분야에서 널리 사용되고 있다. 입력 특징 선택의 성능은 공유 정보 측정의 정확성에 의해서 결정되어지는데, 공유 정보를 정확하게 측정하는 것은 쉽지 않다. 이 연구에서는 입력 변수와 클래스 변수 사이의 공유 정보를 Parzen 윈도우에 기반해서 구하고, 이를 이용한 입력 특징 선택을 여러 가지 분류 문제에 적용해 보았다. Mutual information is a good indicator of relevance between variables, and have been used as a measure in several feature selection algorithms. However, calculating the mutual information is difficult, and the performance of a feature selection algorithm depends on the accuracy of the mutual information. In this paper, we propose a new method of calculating mutual information between input and class variables based on the Parzen window, and we apply this to a feature selection algorithm for classification problems.

애니메이션 카메라 연출기법 연구

곽노준 청주대학교 학술연구소 2015 淸大學術論集 Vol.25 No.-

Most of animation directors use their own camera techniques when they produce films. To address this issue, I analyzed the camera techniques of three american animated films directed by John Kahrs, Brad Bird, and Tom McGrath. John’s film, paper man shows climaxed with many close-up shots. Brad Bird created a lot of impressive chase scenes using dynamic camera movement in his film, The incredibles. Meanwhile Tom was directing the Megamind, he was describing the nature of the characters using a variety of camera angles, through this work. Cameras are an important visual language to communicate with the audience. As the development of digital technology, the animation camera was very similar to the movie camera. When you continue to apply movie camera techniques to make an animation become more effective, the more successful an animation will be.

3D 애니메이션의 렌더링 기법 연구 : 비사실적 렌더링 기법을 중심으로

곽노준 청주대학교 학술연구소 2017 淸大學術論集 Vol.29 No.-

3D animation rendering techniques are more diverse and improved. Conventional rendering techniques are outdated and new rendering techniques and theories are constantly emerging. Based on the point of expression, the rendering technique can be classified into Phorealistic Rendering and Non-Photorealistic Rendering (NPR). The boundary between reality and non-reality is somewhat ambiguous, but the former aims at realizing images that are as close as possible to objects or natural forms existing in reality, and the latter is to create images with an emphasis on emotional expression. In recent trends of animation expression technique, background is made by realistic technique and character is made by NPR method. Despite having a technique to implement a virtual character, the reason for using cell animation's character production method is that emotional expression and appeal to the audience are superior. Through this paper, I will try to find out the kind of NPR that is currently being discussed, its implementation principles, and investigate cases applied to animation to help local animation production.

3D 애니메이션의 성공사례 연구 : 픽사 애니메이션을 중심으로

곽노준 청주대학교 학술연구소 2021 淸大學術論集 Vol.37 No.-

I believe that the establishment of Pixar Animation Studios is not a coincidence, but a necessity of the times. Computer graphics technology, which has been steadily developing since the 1960s, coincided with the popularization of PCs in the 1980s, making it possible for many artists and manufacturers to use computers as new expression tools. In addition, during this period, as a leader in the field of film production, director George Lucas attempted to change the production system through the computer division in preparation for the transition to the digital content era. This trend of the times and the development of related technologies can be said to be the background to the birth of Pixar Animation Studios. Another reason can be said to be the emergence of talent. The emergence of Ed Catmull, John Lasseter, and Steve Jobs was to satisfy all three key elements of engineering, art, and management to run a content company. Although these three people had different roles, they had in common that they constantly pursued new and innovative challenges rather than conforming to the existing conservative system, and by faithfully fulfilling their roles, Pixar Studios succeeded. This spirit of challenge is explained in more detail through the works produced by Pixar Studios. In particular, the development of short animations made before the screening of <Toy Story> is noteworthy. Steve Jobs continued to invest in Pixar despite continuing losses, while Ed Catmull and John Lasseter produced short animations almost every year. Pixar's spirit of challenge and experimentation continued in feature-length animation, as well as John Lasseter's <Toy Story>, Pete Doctor's <Monsters, Inc.>, and Brad Bird's <The Incredibles>. When Pixar was merged with Disney in 2006, many audiences worried that Pixar's spirit of challenge would cease. However, as Ed Catmull and John Lasseter serve as CEO and CCO of Disney-Pixar Animation Studios, Pixar's communication culture continues. As a spectator who loves animation, I look forward to continuing the challenges and adventures of Disney-Pixar Animation Studios. To infinity and beyond!